Each riff on this album is soulfully immersed in the affection of doom, embodying the essence of overwhelming melodies and bringing a heavier, more resonant, and vibrant guitar tone. Having said that, Paradise Lost achieves greater heights when the vocals shine, the songs recapture some gothic rock elements at times, while sprawling into the spectrum of gloom.

Angelic choirs and keyboard melodies are intertwined in darkness on the opening track “Serpent on the Cross”, which begins with a heavy slab of Gregor Mackintosh riffs offering appealing dirges. The lead guitars merge so well with Nick Holmes‘ vocals on “Tyrants Serenade“, which unsurprisingly alternates between guttural growls and clean vocals.

Draped melancholic riffs are a fine example of how the album maintains its tonal qualities; suffice to say that the album is consistently catchy and leans towards more gloomy and darker-tinged lead guitars that dramatically adorn the ears with focused, layered, soaked dirges. The approach, however, isn’t necessarily slow or lethargic like death doom bands, but there is no doubt that the music has a heavy reverb.

There is a certain heaviness to the guitar tone and cold bleak vibe embedded in several highlight songs like “Salvation“, which offers catchy choruses and the sound of the chiming bells and cawing ravens, or the crushing rhythms in “Silence like the Grave” grace our ears.

“Lay A Wreath Upon the World” recaptures the gothic doom style of the 90s and lets you recall bands like Type O Negative, My Dying Bride, and Theatre of Tragedy. Despite the modern sound of the album, it is refreshingly elegant yet never loses its sonic appeal. The guitar plunges your ears with pleasing melodies that splendidly flow throughout the album, without losing its somber, gothic vibe. The majestic doom-laden riffs explode in fury; the guitar solos are another highlight on this album, and they’re undoubtedly delivered with high precision.

There is a classy trademark touch of Paradise Lost in weaving solemnity and gloomy hooks that remind me of albums like “Tragic Idol” on tracks like “Diluvium”. Heavy riffs make each track sublime, with the guitar work of Gregor Mackintosh and Aaron Aedy unleashing splendid hooks that complement the grim and brooding vocals.

The cover painting artwork is beautifully fashioned in a Victorian style, imposing a grandeur value and a prominent feature for the album. Paradise Lost represents its doom and melodic side but also shows that the band can wield a heavier sound for those who yearn for multifaceted and majestic riffs, which are widely displayed in an unprecedented spectacle. However, the songs are delivered in their typical characteristic style, fusing familiar melodies, powerful riffs, and clean vocal hooks.

“Ascension” is filled with crestfallen emotions, and not to mention how Nick Holmes’ vocals have aged like wine, and the riffs hit like a hammer of doom. The work of refinement reminds us of the band’s mid-era, which makes the songs more emotive and melodic. Striking with mid-tempo songs and the heavy drum pace of Guido Zima, Steve Edmondson‘s bass guitar provides a perfect backdrop for the pounding drums.

“Savage Days” and “Sirens” are instantly catchy, and the vocals are emotionally delivered with compelling choruses, especially in their subtle guitar melodies. The gloomy prospect of the album somehow fulfills what “Obsidian” might have lacked; it’s another worthy entry in the band’s growing discography and redefines the modern gothic doom metal that is on par with veterans like My Dying Bride.

After five years of silence, the veterans have culminated in a fantastic songwriting performance full of gothic soundscapes. The rich gothic atmosphere enhances the dynamics of the songs, and even the slower ballads carry the old elements, but with a new inspiration and overt heaviness.

The riffs and rhythm maintain exceptional quality and harmony between the growls and the clean vocals. “Precipice” continues in the doom-death direction of the opening songs, weaving ghostly growls, subtle melodic and orchestral elements into the intricate interplay between the guitar dirges in an intriguing and amusing musical bond. The two final tracks, “This Stark Town” and “A Life Unknown“, stand out as unique, but they bring a refined and aggressive gothic doom sound of their classic days of “Icon“, with the crooning, memorable vocals.

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